But it’s not just the twords that make Twitter interesting, it’s the character limit, the implicit constraint of being interesting, witty, informative – in short, of being worthy of the limited attention of your followers. The best tweets of Twitter (some of them collected on the occasionally not-safe-for-work site Favrd.com) are more epigrammatic than newsy. Twitter demands writerliness in a way that instant messages, text-messaging, and even blogging don’t. The question “What are you doing” is really an excuse to polish up the tiny moments of life, just as the best writers have always done.
Twitter is also being used as a venue for some old literary forms: There are people writing short stories and even whole books on Twitter – called Twitlit or Twiterature, or, sometimes, Twittery (“poetry on Twitter”). These stories don’t usually use any tw-words: Instead, they’re more about pushing standard English to the limit, 140 characters at a time. Some authors try to compose an entire story in one 140-character tweet; longer works (including a “twiller” – a Twitter thriller – by New York Times writer Matt Richtel) try to sustain the narrative flow and readers’ interest over a series of bite-size bulletins. They’re interesting experiments, but, by trying to fit older forms into the new Twitter template, they seem to miss the point. The tweet, in essence, is a new literary form, one that prizes juxtaposition, humor, and directness, as well as concision.
Il resto dell’articolo, che contiene anche informazioni sui nuovi neologismi, è qui.
Postato da: IM